Ibsen Studies最新文献

{"title":"Reimagining Ibsen: Recent Adaptations of Ibsen Plays for the Chinese Stage","authors":"Shouhua Qi","doi":"10.1080/15021866.2017.1408249","DOIUrl":"https://doi.org/10.1080/15021866.2017.1408249","url":null,"abstract":"Henrik Ibsen has been one of the most studied and staged Western playwrights in China since the early decades of the twentieth century when the May Fourth generation introduced and appropriated him as a beacon for the New Culture Movement and Nora, the heroine of A Doll’s House, as a rallying cry for the cause of women’s liberation. For much of the twentieth century, since her 1923 debut via the bold performances by students of Peking Normal College for Women, Nora had been enjoying the spotlight on the Chinese stage, having inspired many a Chinese Nora both on and off the stage (Qi 2016, 343–352). Things have changed, however, since the 1980s. Not that the old favorite has faded in any shape or form, but that Nora’s siblings, overshadowed for a long time, have begun to (re)appear and shine on the stage too as the Chinese find that there is much more to Ibsen than A Doll’s House and indeed there is more to the character of Nora than as a champion for women’s liberation (Chen 2009, 130–132; Song 2011, 49–51; T. Wang 2011, 9). Some of them, such as Tomas Stockmann of An Enemy of the People, who figured in Lu Xun’s 1907 essay on European satanic poets, are rediscoveries whereas others, such as Peer Gynt, the “exuberant, outrageous, vitalistic” (Bloom 1994, 357) titular character of the 1867 play (first produced in 1876), and Hedda Gabler, the titular character of the 1890 play (first produced in 1891), are new ventures. From the usual suspects of problem plays to the romantic and modernist dramatic works, Ibsen has proved a gift that has kept on giving for over a century, a catalyst as well as a challenge that has never lost its refreshing rigor. Remaining as relevant, polemic, and potentially subversive today as ever before, Ibsen’s plays such as An","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"17 1","pages":"141 - 164"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1408249","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41867113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"O Errikos Ibsen stin elliniki skini: apo tous Vrikolakes tou 1894 stis anazitiseis tis epohis mas","authors":"Anna Stavrakopoulou","doi":"10.1080/15021866.2017.1394608","DOIUrl":"https://doi.org/10.1080/15021866.2017.1394608","url":null,"abstract":"Yannis Moschos’ (b. 1971) combined qualities as a theater scholar and a stage practitioner are discernible throughout his lengthy study of the Ibsen phenomenon in Greece. In seven chapters, he presents, analyzes, and synthesizes the trajectory of Ibsen’s fate in the hands of a few dozen Greek directors and a multitude of actors, who undertook to incarnate his Noras, Heddas, Osvalds, Borkmans, and a lot more from 1894 to 1999. Between the first brief chapter, which presents an overview of the first stagings of Ibsen in Greece (1894–1910), an era previously covered by Nikiforos Papandreou in his seminal book O Ibsen stin Ellada: apo tin proti gnorimia stin kathierosi 1890–1910 [Ibsen in Greece: from the first acquaintance to being established 1890–1910] (Athens, 1983) and the last and lengthiest chapter, which deals with a renewed interest in Ibsen between 1985 and 1999, a fascinating narrative is put together for the reader, with facts, figures and people that map out expertly Ibsen’s presence in Greece. At the same time, Moschos offers an implicit overview of twentieth-century Greek theater, given that the most important directors attempted to decipher Ibsen’s often puzzling characters for Greek audiences of their time. The book, the first volume from the new publishing house Amolgos, which specializes in theater and philosophy, can be read horizontally or vertically, depending on what one is seeking. Starting from the more easily accessible vertical charts in the CD, one can get a bird’s eye view of the data, which include all the information regarding the productions staged until 2015: one can read where and when a play was staged, how many times and by whom, with painstaking details on the cast and creative teams; Moschos also tracks","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"17 1","pages":"165 - 169"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1394608","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48172155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preface","authors":"F. Helland","doi":"10.1080/15021866.2017.1408937","DOIUrl":"https://doi.org/10.1080/15021866.2017.1408937","url":null,"abstract":"Ibsen’s 1869 comedy, The League of Youth, was highly successful on the Norwegian and Scandinavian stages during the author’s own lifetime. In prose, and through comedy, he deals with contemporary problems of a political, economic and social nature; a Norwegian provincial town is the setting for a play which aims at problematizing agonizing problems of the modern age. Even though this seems important and familiar enough to us today, this play is seldom read, written about or staged today. However, Klaus Müller-Wille, in his article “‘Spidsborgere i Blæst’ – Henrik Ibsen’s De unges Forbund and the Crisis of the Radical Political Imaginary”, aims to give a reading of the play that can bring forth the strong and topical, even provocative issues embedded in the play. Inspired by Cornelius Castoriadis’s concept of the political imaginary Müller-Wille clarifies the critique of a modern political culture, “the crisis of politics and history” in Ibsen’s world, still with us today. In order to reconstruct the “political and historical-philosophical implications of the play”, he also draws on the writings of Karl Marx and Søren Kierkegaard. Torbjørn Andersen’s article, “The Contemporary Reception of Little Eyolf and its Presentation in Henrik Ibsens Skrifter”, also focuses on Ibsen’s works and their immediate context. Andersen gives a thorough account of Little Eyolf ’s first phase of reception, highlighting many interesting aspects of the early discussion of the play, above all in Scandinavia. His rich material is important in itself, but it is also put to use in a well-balanced critique of the most “authoritative” account of the play’s reception today, namely the one presented in Henrik Ibsens skrifter (HIS, Henrik Ibsen’s Writings). Hence, he shows not only what is missing in the reception history given in HIS, but also reflects on the (lacking) editorial principles of HIS. His article, then, not only gives important new information about the reception of Little Eyolf, but also represents a contribution to the on-going discussion of the philological and editorial principles of large editions like this one.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"17 1","pages":"85 - 86"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1408937","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47240704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Et Dukkehjem in Arabic Translation","authors":"Gunvor Mejdell","doi":"10.1080/15021866.2017.1308170","DOIUrl":"https://doi.org/10.1080/15021866.2017.1308170","url":null,"abstract":"As has often been noted, authors of original works make “national” literature, while translations (and translators) make “world” literature. Ibsen’s plays were translated from Norwegian into English, German, French, Russian, and other European languages, and only from these relay translations into languages of the world beyond. And it was in such a “world literature” framework the plays were translated into Arabic, in series such as “Masterpieces of World Drama”, “World Theatre”, and “Library of world dramatic work”. In this article, I will discuss some translations of Et Dukkehjem (A Doll’s House) into Arabic. To begin with, I shall provide a short literary, cultural/political and linguistic background for framing these translations in the Arabic literary “polysystem”. Next, I will discuss some challenges encountered when trying to map Arabic Ibsen translations and their sources, before I present “my” translations of A Doll’s House and make some textual comparisons with a focus on certain key linguistic and cultural items.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"17 1","pages":"28 - 53"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1308170","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49107571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"When Nora Stayed: More Light on the German Ending","authors":"Christian Janss","doi":"10.1080/15021866.2017.1324359","DOIUrl":"https://doi.org/10.1080/15021866.2017.1324359","url":null,"abstract":"Henrik Ibsen’s A Doll’s House (Et dukkehjem. Skuespil i tre akter, 1879) owes its worldwide reputation to the last scene, where Nora leaves her husband and children. A little less known is the German, alternative ending of Nora – the title commonly used in the German speaking world – where she stays. In the field of theatre studies, this ending is commonly recognized. The fact that Ibsen himself wrote it in 1879 – and tolerated its performance for a while – also belongs to established knowledge. The circumstances of the genesis and distribution of this very special piece of text have, however, not yet been presented in a manner giving attention to all aspects. My main arguments are:","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"17 1","pages":"27 - 3"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1324359","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43408728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preface","authors":"Á. Cunha","doi":"10.1080/15021866.2017.1351054","DOIUrl":"https://doi.org/10.1080/15021866.2017.1351054","url":null,"abstract":"It seems safe to say that hardly any play in the history of world drama has had so many and such different endings as A Doll’s House. These multifarious endings have been the subject of a number of recent investigations. Christian Janss contributes to this discussion by revisiting what is arguably the most prominent of these differing endings, namely the one authored by Ibsen himself. In his article “When Nora stayed: More light on the German Ending” Janss takes issue with the myth, initially produced by Ibsen, that the person chiefly responsible for his being “coerced” into writing an alternative ending was the actor Hedwig Niemann-Raabe. According to Janss, it was, however, not her initiative nor was she a figure central enough to exert such influence. Instead, Janss’ detailed and well-researched argument illustrates how the male agents within the theatrical system can more likely be held responsible. In addition to this insightful analysis, he also reveals new evidence about the actual dissemination and use of the alternative “German” ending. Gunvor Mejdell’s article “Et Dukkehjem in Arabic Translation” also touches upon the various endings of Ibsen’s most famous play – not only in performance but also in translation. In Arabic book translations Ibsen’s original ending has been respected, even if some versions add a slightly different nuance to the play, as Mejdell demonstrates. Before getting to the textual comparisons between different translations “with focus on certain key linguistic and cultural items,” Mejdell provides a valuable literary, cultural, political and linguistic background for these translations into Arabic. She also introduces some of the challenges encountered “when trying to map Arabic Ibsen translations and their sources.” It is indeed a fact that most translations of Ibsen’s plays into this language culture have been relay translations, translated from other – mainly English – translations. This is, however, about to change with the new translations currently being published in Cairo as part of the project “Ibsen in Translation”. One issue specific to this region is the debate over which version of Arabic to choose, the classical Arabic or some","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"17 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1351054","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43597230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reading Ibsen with Irigaray: Gendering Tragedy in Hedda Gabler","authors":"Lior Levy","doi":"10.1080/15021866.2017.1344379","DOIUrl":"https://doi.org/10.1080/15021866.2017.1344379","url":null,"abstract":"In “Notes for a modern tragedy,” written in preparation for A Doll’s House, Ibsen offered the following observation on the conditions of women in his times: “A woman cannot be herself in modern soc...","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"17 1","pages":"54 - 84"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1344379","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45221594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ibsen and the Modern Breakthrough – The Earliest Productions of The Pillars of Society, A Doll’s House, and Ghosts","authors":"Ståle Dingstad","doi":"10.1080/15021866.2016.1249708","DOIUrl":"https://doi.org/10.1080/15021866.2016.1249708","url":null,"abstract":"As literary scholars it is our profession to understand and interpret texts. We usually do this by reading them and then subsequently comparing them with other texts and analyzing those using established theories or contexts. As literary historians, however, we should also be able to detail their emergence, relate them to specific historical changes, and point to reasons for both their contemporary and later significance. Ibsen’s contemporary dramas are often read in light of Scandinavian literature’s Modern Breakthrough, and Ibsen is indeed the author from Georg Brandes’ book Det moderne g jennembruds Mænd [The Men of the Modern Breakthrough], published in 1883, who has since had the greatest success. But how do we understand or explain the success Ibsen eventually had with his contemporary dramas? When analyzing Ibsen, it must be emphasized that he wrote for two different markets; publishers aimed at selling books to a reading audience, and theaters aimed at selling tickets to an audience of spectators. These two markets followed their respective conventions and rules, which were often in conflict and changed significantly during Ibsen’s fifty years as a playwright. Of main concern were issues of copyright, provisions regarding honorariums or fees,","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"16 1","pages":"103 - 140"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2016.1249708","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Altering Henrik Ibsen’s Aura: Jon Fosse’s Suzannah","authors":"Kyle Korynta","doi":"10.1080/15021866.2016.1251740","DOIUrl":"https://doi.org/10.1080/15021866.2016.1251740","url":null,"abstract":"In anticipation of Ibsenåret 2006, the Ibsen Year, Jon Fosse wrote a drama on the private life of “the father of modern drama” and his wife. Suzannah, written in 2003, is based on the known historical information about the private lives of the Ibsens; yet since much of this knowledge was lost when Suzannah burned their personal correspondence after Ibsen’s death, Fosse fills in the gaps of historical information with possible scenarios. Instead of taking the form of a modernist crime-fiction novel in which the suspect is unknown, Suzannah is a postmodernist “anti-crime” drama since we immediately know who committed the “crime” and we search for something that cannot be found or “solved”: the contents of the letters and the reasons why she burned them. Fosse presents the history of Ibsen, an influential modern playwright, in a postmodernist way; Ibsen never appears on stage and Suzannah is fragmented into three characters, each of which represents a different stage in the Ibsens’ life together. Fosse’s three Suzannahs serve as mouthpieces for Fosse to comment on and critique the Ibsens’ private life. In addition, Fosse alters Ibsen’s retrospective technique by having the Suzannahs narrate their experiences in present time as opposed to recalling their memories. The Suzannahs’ overlapping narration creates an overall experience of clues being reported at the scene of a crime or in cultural archives. Fosse’s fictitious account of the Ibsens’ private life shows a juxtaposition of, and a clash between, historical “fact” and fictional story. This approach allows Fosse to replace a totalizing modernist presentation of the Ibsens’ history with a fragmented postmodernist one, an approach that seeks to alter the traditional","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"38 1","pages":"141 - 167"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2016.1251740","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Caprice – The Summit of Ibsen’s Theatrical Career","authors":"E. Svarstad, Jon Nygaard","doi":"10.1080/15021866.2016.1263445","DOIUrl":"https://doi.org/10.1080/15021866.2016.1263445","url":null,"abstract":"Erik Bøgh’s A Caprice (En Kaprice) premiered 7 September 1859 at the Norwegian Theatre in Christiania (Oslo), staged by theatre manager Henrik Ibsen. The production then ran for another 35 performances during the 1859–1860 season. In relation to the population of the town, this is by far the greatest box-office success in the history of regular theatres in Norway. No wonder that Michael Meyer understood A Caprice as the ultimate example of the unholy trade Ibsen was forced into as a theatre manager. According to Meyer, in staging A Caprice Ibsen was for the only time in his life “rebuked for truckling to the box-office” (Meyer 1971, 166). The contemporary criticism claimed that Ibsen, by staging A Caprice and other dance performances, was reducing the Norwegian Theatre in Christiania to a kind of amusement park for the lower classes (Morgenbladet Nr. 278, 9.10.1859). Contrary to prevailing opinion, we will in the following present A Caprice as the summit of Ibsen’s theatrical career and underline that both this and other dance productions staged by Ibsen in this period were not at all mere amusement for the lower classes but instead important expressions of artistic creativity and development.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"16 1","pages":"168 - 185"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2016.1263445","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}